Moon - Marquee March 1976

 

Moon - Marquee March 1976.

by Pete Clemons

Yes!! This is going to be a good night ! prophesied Moon's lead warbler Noel McCalla to a packed Marquee early on in the proceedings. And sure enough, brothas n sistas, he did not tell a lie. In fact, from the moment they nosedived into the first number, Van Morrison's 'Moondance' (subtle eh), you rested easy that the set would be stylish, assured and ultra-tight.

Since their emergence on the London pub/club circuit two years ago, Moon have proved themselves to be ascendant over most of their beer-drinking musical buddies. They are very much a part of the sixties soul and R&B tradition but have spiced this up with a sizeable helping from the jazz world. Little wonder then that they should have chosen to open with that R&B jazz influenced Belfast cowboy.

The technical skill of this six man unit borders on the impeccable. The rhythm section, consisting of Graham Collyer (rhythm guitar), Ron Lawrence (bass) and Luigi Silvani (drums), provides a bedrock steady enough to prevent the leaning tower of Pisa from sinking any further.

The only criticism here is levelled at the drums. It would make for more variety if Luigi diluted his rigidly precise approach at times in favour of a more loose, suggestive style. Dougie Bainbridge (congas, flute and alto sax) together with the remarkable Nicky Payn (tenor sax and flute), whose dexterity equals and even surpasses that of Kokomo's revered Mel Collins, help join up and colour the dots laid down by the previously set of gentlemen.

In spite of a tendency to be jarringly frenetic, Loz Netto (lead guitar), is a fine soul exponent. Last but no means least, Noel McCalla sings with a range, control and sensitivity that has not been heard in British haunts for, dare I say, many moons.

After the good news, the less good. Though their crisp, meticulous arrangements speak of long dedicated rehearsals, they end up sounding too close to one another for comfort. More flexibility, more light and shade would probably have swung the Marquee audience sooner than actually happened (ie. In the last couple of numbers when ignition was finally made and we had lift-off).

As it was the arrangements were so smooth that it was difficult to maintain a foothold without sliding off. A pity, since their own compositions, which take up most of their act ('its getting better' is especially recommended) are strong. Also a more positive stage presence would not go amiss.

In particular Noel McCalla, a constant focal point, seems unsure whether or not to take the plunge and enlist in the Joe Cocker school of manic handshakes.

Still, a powerful, sinewy band more than worth checking out. Now with a CBS contract tucked up their instruments, keep your fingers crossed that they manage the transition to vinyl successfully - it can often be a dicey business.

Lone Ranger - Moon

Leamington Blues Mafia – Temperance Bar, Leamington Spa

 

Leamington Blues Mafia – Temperance Bar, Leamington Spa.

by Pete Clemons

The Leamington Blues Mafia are a group of musicians based in and around Leamington Spa. The band features seasoned artists, including Nick Rowbotham (vocals/harmonica), Steve Walwyn (guitar/vocals), Horace Panter (bass), and Andy Bentley (drums). And this high quality line up are known for playing classic tunes from the rich heritage of blues.

It appears that the 'Blues Mafia' name came about when another of Leamington's renowned blues outfits, The Mosquitoes, were gigging. Horace would playfully refer to them as the 'Leamington Blues Mafia' being out and about again. And so this name was a great fit when this combo came together.

Collectively, at a recent gig at Temperance Bar the 'Blues Mafia' created an ardent and enthusiastic atmosphere that grew throughout the evening. It was significant that a brief but meaningful introduction about the music and the musicians who created it was pivotal. Additionally the band didn't feel limited to just one area of the blues. This was as much a celebration, as much as paying homage to, a genre that has given them so much enjoyment.

There was not a hard n fast set list, it was more a 'what shall we do next?' kind of approach. All very laid back in between numbers but absolutely attention grabbing and deadly serious while performing. Just the key was required and off they set, into that much loved place.

Hound Dog opened the proceedings. That was followed by tunes such as I'd Rather Go Blind, Roadrunner and Walking Blues. A rousing version of Gloria wound the evening down. The set finally closing with a glorious take of Bullfrog Blues. Another song, Canned Heat's 'World in a Jug' was introduced by Steve. He remembered how, during his time with Dr Feelgood and sharing the stage with Canned Heat, he was invited by Heat's guitarist, Henry Vestine, to join them on Fried Hockey Boogie. Im not sure about other folk but that was a real wow moment for me.

A combination of virtuosity, bottleneck and epic solo's were prevalent throughout throughout as Steve painting on top of a Bentley/Panter canvas using a range of styles and colours. The magnetic pole however is Nick on vocals and harmonica.

When a musician with the pedigree of Horace Panter is seen smiling broadly, purring with delight and ending with him doffing his cap by way of a round of applause for the band, as happened after a wonderful rendition of 'People Get Ready' kind of proves the band are on a roll.

Those who attended, combined with this wonderfully tight venue, just made for a memorable evening. All were there for, and clearly appreciated, the music. It all felt like a match made in heaven.

Described as a side project alongside current activities suggests that Leamington Blues Mafia gigs will be few and far between. This particular gig was the day after Martin Cure's funeral. I couldn't help hear his name mentioned several times before the gig and during the interval – not that I was earwigging, it was more because of the enclosed nature of the venue. But it was clear Martin will never be forgotten. As such, events like these have taken on added poignancy and feel just that little bit more special.

   

https://www.facebook.com/TemperanceCafe

https://www.facebook.com/share/v/1TYE5xCatK/

The Sorrows 1965

 

The Sorrows 1965

by Pete Clemons

A lot of people will remember the Song "Take a Heart". It was Released as a single in August 1965 by Coventry group The Sorrows and became a UK chart hit, reaching the Top 30.

“Take a Heart” is known for its hard-edged R&B sound and "tribal" drumming. It was written by Miki Dallon but was originally recorded as a B-side by a band called The Boys Blue before The Sorrows' version became famous.

Chart success led to The Sorrows gaining a modi-come of national press interest, tours etc. Here is one such article that came on the back of the bands time in the limelight................

It used to be the fashion to say 'We don't want a hit record' . Now The Sorrows have come up with a new complaint - they think their current Pop 50 entry 'Take a Heart' projected the wrong image.

'Of course we feel happy that the record got us off the ground and brought us to the money earning bracket where we always wanted to be' says 6 ft 7 inch lead singer Don Maughn. 'But we don't in fact play this sort of thing all the time'.

'Our music is far wilder, louder and more distorted. Our new one 'You Got What I Want' is far more us, with lots more noise. The thing about The Sorrows is you either like us or hate us. We appeal to the deaf set'.

Don agrees that 'Take a Heart' has made a big difference. 'They are working us ten days out of seven' he said 'The theory seems to be that we have been sleeping for the last 18 months so we can get through the next 18 without any'.

'Take a Heart' was probably also responsible for the battle of West Hartlepool - The Sorrows' first experience of fan fever.

'I'd never seen anything like it' recalled Don. 'Our lead guitarist, Pip Witcher, walked to the edge of the stage to shake hands with a girl. That was the last we saw of him for 10 minutes !'.

'He came back with one leg of his trousers gone, minus a sleeve of his jumper and cuts on his face. Then they charged the stage 300 strong'.

'I was on the floor with all these girls piled on top of me. A bouncer joined in. He was a nice quiet type - probably a probation officer or something like that during the day. But he started trying to get these women off me. I was in total agony for a week'.

'All of a sudden everything went up. Chairs were flying about. They finally locked us in the dressing room'.

'When we came out for the second half there seemed to be more bouncers than people - all standing in front of the stage. It was like playing to the back of somebody's head'.

Still, what are a few bruises when all that lovely loot is starting to roll in?.

You Got What I Want - The Sorrows

Take a Heart live The Sorrows

David Bowie - Lanchester Arts Festival 1972

 

David Bowie - Lanchester Arts Festival 1972

By Pete Clemons

David Bowie, it seems, was scheduled to appear at the now legendary 1972 Lanchester Arts Festival in Coventry but withdrew at very short notice. Festival organiser Ted Little indicated Bowie pulled out because his management felt he wasn't a good fit for the bill topped by jazz saxophonist Rahsaan Roland Kirk on the polytechnic site. (The festival was spread across different venues including the Locarno).

And this was at a time when David's record 'Hunky Dory' had just been released - an album that today - is still highly praised. And close to that scheduled appearance in Coventry, as part of the 1972 festival, David was even interviewed.....................

Since the very early precociously talented releases of 'Rubber Band' and 'Love You Till Tuesday' way back in the mid 60s David Bowie hasn't exactly been swamped with instant recognition.

His kind of wierd tongue in cheek material and half Newley voice didn't quite fit, it seems, into the kind of things that were going down then. It wasn't really until 'Space Oddity' that his name got around, and even then it didn't fore-run a massive trail of success. It was always a very jerky passage for Bowie. Half recognised, half buried not helped by the fact that he apparently was not too keen to do live appearances, didn't see himself as part of the rock and roll circus, and every so often just disappeared off the scene.

He did, however, record. And the result of these sorties into the studio presented us - after 'Oddity' - with a rather ragged album 'David Bowie' which gave a pointer to the way he was going to move musically but never quite gelled, but then the massive peculiar and neurotic 'Man Who Sold the World' and finally 'Hunky Dory'.

And although 'Man Who Sold the World' got Bowie off finally in the States, it wasn't until 'Hunky Dory' came out earlier this month that the cluster of British critics who had 'poo-poohed' Bowie as a rather boring freak they couldn't put into a musical compartment, sat up and took notice.

'Hunky' - a tight melodic collection of rock on tracks - has been backed up with Bowie's own imagery of prancing and capering and giving outrageous quotes when he feels like having a bit of fun with someone. It's his first album with a new record company and its success, backed with new management, has given him a whole new approach not only to his recorded work but to live gigs in general.

'We've really been swamped with work - turning down bookings every day. Lanchester happened to coincide at just the right time and looked like a good place to play. Certainly I've changed my whole outlook about live appearances. We're not going to go flogging around the country every night, but we'll do much more live work than we have in the past. I think really what's happened to my approach to work is having a new enthusiastic people around me makes life so much easier and it's made me more enthusiastic myself, plus we did this gig in Aylesbury before Christmas and got such a great reception it got us off'.

For Lanchester Bowie will be backed up by his usual three-piece line up of Mick Ronson, 'Woody' Woodmansey and Trevor Bolder who replaces Tony Visconti on bass.

It will, he says, be a composite show with only a few numbers from 'Hunky Dory' - and inevitably - 'Space Oddity' because 'it's a good little tune and you can't really ignore it can you?'. The mainstay of the material he'll be using will be from past albums - stuff like 'Wild Eyed Boy From Freecloud' - and from the new album he's just laid down in the studio's.
'I feel that a lot of the material from the two previous albums really didn't get much of an airing - certainly not on stage - so they'll be nice to do for people. At the time neither got much attention over here, probably they just weren't right for the time and had more empathy with what was going on in America.

'On the new album we've tried to capture the sound we had going for us on stage. A sort of phonographic representation of the stage act with a few strings added. It's such a harder sound than 'Hunky Dory' but certainly not as paranoic as 'Man Who Sold the World '.

After his Lanchester gig Bowie has his first real British tour since the very early days with Humble Pie two years back. A tour which should finally get him off the ground with British audiences before he goes back to the States, which has always reserved a special place for his talents.

'I don't know why it is but they certainly got into the music faster than they did here so really I can't help thinking of the British dates as something of a 'rehearsal' before we go to the States'.

Rubber Band

David Bowie - Space Oddity (Rare & Unreleased 1969 demo version)

Memory Of A Free Festival-by David Bowie

Changes

Burns & Dolphin – Pick 'n' Mix

 

Burns & Dolphin – Pick 'n' Mix.

By Pete Clemons

Dennis Burns and Leigh Dolphin are not exactly household names. That said, you may have heard bands they have played in. Both Dennis and Leigh are musicians and songwriters from Nuneaton, Warwickshire known for their work both as a duo and with various local bands. Among them, and possibly most notable, was Fresh Maggots. Leigh was part of the folk duo Fresh Maggots (along with Mick Burgoyne) in the late 1960s/early 1970s. 

The duo was known for their unique sound and a variety of instruments, including guitars, glockenspiel, tin whistles, and strings. Shortly before Fresh Maggots were formed, Dennis Burns formed the band "Flood" in late 1969, where he played lead guitar and provided backing vocals. Flood, incidentally, also included Mike Warren on lead vocals, Mike Adler on bass and Dez Warren on the drums. Later, Leigh also joined Flood on acoustic guitar. 

After Fresh Maggots 1st album was released, Dennis left Flood to roady for the Maggots. Dennis later appeared with bands such as The Mix and Urge. Well, they don't need those bands any more. Not that an association with them is any way something to be ashamed of. Far from it. This is an entirely different project. And they have completely made this on their own. More recently both Dennis and Leigh have performed as a duo, known as "Burns & Dolphin" or "DBXLD". They have released music under this name, such as the track "Don't Come That With Me" which just happens to be the opening song of their recently released album titled “Pick 'n' Mix”. 

With Leigh suffering from arthritis in his hand, Dennis along with son Nick have been recording songs written with Leigh that emerged initially during the late ‘70s through to the early ‘80s. In fact Nick has had to play most of Leigh's parts. Apart from producing it, Nick played: drums, bass, guitar and sang backing vocals. And yes, there is little doubt when you hear them, these songs do have a nostalgic feel to them as, throughout the album, different eras seem to spring up in your mind. And that is no bad thing. 

This album is an undiscovered gem and a remarkable time capsule of sorts. On “Pick 'n' Mix” the pair deliver the goods throughout this entire collection. The songs within it are impressive and satisfying in every way. Everything about it appears to come together so smoothly. The songs, admittedly a little eclectic at times, work together with sensitive empathy and understanding. 

I asked Dennis if this was an album of unfinished business. He replied saying it was “unfinished in the sense that there are 2 more albums to go”. Such, I guess, is this vast depth of the vaults. Around 40 of them, according to the booklet. 

The hope is that key players such as music supervisors who select music for TV and film pick up on these songs for placements in shows, movies, ads, and games. With the music business being what it is nowadays, this is a crucial income source beyond streaming and the selling of physical copies. 

However for those such as me who are old hat and still prefer physical product, the "Pick 'n Mix" CD is a limited-edition run. It was released by this Pontefract based duo during November 2025 and features 11 original, genre-blending tracks. The CD also includes an eight-page printed leaflet booklet with a bio, lyrics, photos of the artists, and an artist credit list. It is available for purchase via their Bandcamp page. There are possibly gigs to come in support of this venture.


https://burnsdolphin1.bandcamp.com/album/pick-n-mix-2

Indian Summer, Black Sabbath and Jim Simpson

 

Indian Summer, Black Sabbath and Jim Simpson.

by Pete Clemons

Before there was Black Sabbath there was Earth. Earth were the precursor band to the legendary heavy metal band fronted by Ozzy Osbourne. They were described as 'a blues-driven powerhouse already making a name for themselves'. This was 1968/69.

It's incredible to think that 50 plus years ago, while still known as Earth/Black Sabbath along with Coventry band Indian Summer shared the same management. That being Jim Simpson and Big Bear music.

With the incredibly sad passing of Ozzy Osbourne and the inevitable end of Black Sabbath I felt an urge to collect some recollections from that time. I just wanted to capture some memories from a time when ideas flourished and when dreams seemed endless. I just couldn't let that whole era just drift away

Thankfully, and with much gratitude I was gloriously blessed with responses to my requests and enquiries.

Bob Jackson (Indian Summer / Badfinger) – July 2025:

We played on the same bill as Earth/Black Sabbath many times, and as Paul Hooper. reminded me, they even used our gear in the early Earth stage. They were all easy to get on with. I remember chatting with Ozzy several times, including once at the Marquee before the show. We went round to Ozzy's terraced house, in the early days and discussed whether Jim Simpson was the right guy for us to sign with. Based on that conversation we signed.....but soon after, found that Sabbath were leaving Simpson for Don Arden. That move to heavy management certainly worked for them.

Paul Hooper - (Indian Summer) July 2025:

Indian Summer with Jim Simpson (2nd on left sitting) signing the deal.

Due to the recent sad passing of Ozzy the BBC put on the classic LP programme about Sabbath's first LP. So I watched it with some interest ..it kind of confirmed to me my initial reaction to what they were doing as a band at the time when they morphed from being Earth, and doing blues type covers with a lot of jamming, into Black Sabbath and basically using minimal basic riffs and chord progressions which became their template.. to be honest I wasn't that impressed and didn't expect them to be that popular with their depressive doom laden compositions and rather crass lyrics ..but how wrong could I be ..they obviously responded with a lot of people who identified with it

...to this day I still don't really rate their stuff much and didn't think Ozzy was a great singer...bit what he did suited the material ...I don't think there would have been as much media coverage about his passing if it wasn't for the very popular Osborne Family TV show that ran for several series under the direction of Sharon ..it made her and Ozzy house hold celebrities and raised profiles considerably so that Ozzy became synonymous with his character personality ..to the point where his voice was available as a sat-nav option..when that happens you've definitely become an A list celebrity....

What was interesting about the program was the comments and recollections of people like our manager at the time Jim Simpson plus what the band members had to contribute in retrospect...what came across was the fact that they were mainly just jamming around until a riff or chord structure appealed in some way and they'd then go on to construct some sort of composition from it ..but that their wasn't within their collective any great song writer..it was all pretty basic stuff and worked in a way that punk did a decade later ...and there's no doubt about that..it definitely worked ...and no one was more surprised at their initial success with paranoid than the band themselves.

I then sent Jim Simpson an email, fully aware that he was in high demand with TV. It contained questions such as how he had discovered Indian Summer and if he saw them play in Coventry before signing them and how did the end come between himself and the band ? I got this wonderful reply that kind of touched on my questions......

Jim Simpson – October 2025:

Former Black Sabbath manager Jim Simpson (right) and Muddy Waters

I was operating the weekly blues night at The Crown pub in Station Street where Tuesdays Is Bluesday. We headlined with touring American blues musicians and UK bands who were then on the rise – such as Status Quo, Ten Years After, Rory Gallagher & Taste, Jethro Tull etc. But I always opened with a local band, believing as I did – and still do – that Birmingham is The UK home of Rock & Roll. Indian Summer approached me to play there, and I was really impressed and briefly took on management.

I cannot remember any involvement of Don Arden with Indian Summer, though he had made 2 failed approaches to Black Sabbath through his then employees Patrick Meehan and Wilf Pine. Subsequently, after I lost Black Sabbath to Meehan and Pine, who, by then, had gone solo after quitting Don. Don Arden was extremely good to me with support in the Court case (see below) against Black Sabbath as well as giving me an office in his Portland Place office suite opposite the BBC.

I did the recording deal for Indian Summer with Olav Wyper of RCA Records, who had joined from Phonogram where he had launched their Vertigo label. At RCA he set up their underground label, NEON, which released the Indian Summer album.

I cannot specifically remember the details of my split from Indian Summer, but I cannot remember it being rancorous, more of a drifting apart – probably due to the fall-out of the Black Sabbath split which had decided me not to repeat what had happened with Black Sabbath, discovering them at a time when they had absolutely nothing going for them and taking them on, building them up to become a major attraction only for then to walk out on me when we had a No 1 album, a No 7 album and a No 2 single. At that point I set about rediscovering neglected American bluesmen, bringing them over for UK/European tours and recording them for my Big Bear Records label - which took up most of my 1970s.

HENRY'S BLUES HOUSE - THE CROWN, BIRMINGHAM

March 1976 Sounds Magazine:

Black Sabbath have settled their dispute with former manager Jim Simpson, now boss of Big Bear records, for £7500 in an out of court agreement.

Simpson took them to the high court at the end of a four-year action following the band's leaving him at a time when their Paranoid single and album were high in the charts.

He said that if he had been prepared to pursue the case for a couple of years more he might have received up to half a million but the band's solicitor Mr John Wood said it was a 'nuisance value' payment so that Sabbath could get out of court and into the studio.

Simpson was also suing Patrick Meehan who took over handling Sabbath when they left him and the out-of-court settlement from him was £27500.

Simpson said the £35000 total would put Big Bear records on its feet as they have a £5000 overdraft at the moment.

Sabbath's spokesman said they would continue to manage themselves as they have done for more than a year now.

Indian Summer RCA Neon Full Album 1971

BOB DYLAN IN COVENTRY - REVIEW BY PETE CLEMONS

BOB DYLAN IN COVENTRY - REVIEW BY PETE CLEMONS

PUBD

Bob Dylan has been and gone. He played in Coventry as part of his 'Rough and Rowdy Ways' world tour. The concert, held at the Coventry Building Society Arena, was his first ever performance in the city.

I remember reading how, several years ago during a show in Europe, Bob Dylan grew so enraged by fans taking photos and shooting video that he stopped the set. He retorted “'take pictures or don’t take pictures' he snapped. 'We can either play or we can pose. OK?'

Bob has performed in minimal light throughout parts of his career, using specific lighting choices to create a certain atmosphere or make himself less visible to the audience. So this is not really a new thing.

But he is right in that phones have made concerts almost unbearable at times. It is a difficult situation. That said, for this performance phones had been put in secure pouches to ensure the audience was fully immersed. Despite that, the majority were still being punished to the mischief of the few. In fact, I would say that this, quite possibly, had a detrimental effect.

The bigger problem was that, for me, it created for one of the bleakest crowd, energy wise, I have ever experienced. There was disgruntlement and dozens streamed out after less than an hour.

Additionally the sad fact is, in the case of the Coventry gig, it was an absolutely brilliant show – musically it verged on utter genius, a truly unique performance – but will it be forever overshadowed by a camera debate?.

According to reports, those in the first few rows appeared to be OK. To the rest of the crowd, and this room is spacious, I suspect Bob Dylan was little more than a visual smudge behind the piano with lights on top, 'you could just about make the top of his head out' assuming they were able to see any trace of him, or his band, at all.

Bob Dylan has written over 600 songs across his career, with some estimates reaching closer to 1,000 when including unreleased or co-written tracks. So the choice, as to what to play live is immense.

He began with 'I'll be Your Baby Tonight' followed by 'It Aint Me Babe'. They were absolutely magnificent and performed in a style that set the tone for the rest of the set.

Of the album songs played, the album's opening track, 'I Contain Multitudes,' sets the tone for an exploration of an all-around, changing self and the contradictions within individuals and society.

There are several moments that address death and the passing of time as Bob reflects on his own age and the universal frailty of human life. Songs like "Mother of Muses" are odes to the sources of his inspiration.

But there are moments of tenderness, such as 'I've Made Up My Mind to Give Myself to You,' an overt love song that offers a sense of peace and devotion.

Overall, Rough and Rowdy Ways is a dense, cryptic look at a world of both immense injustice and enduring hope. The album is rich with historical and musical references. It is a late-career reflection on a lifetime of experience and, at the same time, an examination of where we are now as human kind.

With phones safely locked away, and i got the intimate stage lights thing, but this was far from an intimate venue. The sound wasn’t brilliant either, it tended to bounce around the hall. However, Bob's voice held up really well.

I hope Bob Dylan got to see more of Coventry than Coventry got to see of Bob Dylan. As his times of sand disappear I really hope these gigs have not damaged his legacy and that it is not memorable for all the wrong reasons. Not that Bob himself probably cares. As I read often, its Bob being Bob.

As for the music - truly masterful and accomplished however, as a spectacle and lasting memory – possibly an own goal. Time will tell.

For those who could'nt see them them the band was:

Bob Dylan – vocals, piano, harmonica, guitar

Anton Fig – drums

Tony Garnier – electric and standup bass

Bob Britt – acoustic guitar, electric guitar, lap steel

Doug Lancio – acoustic guitar, electric guitar

Bob Dylan — I've Made Up My Mind to Give Myself to You. Coventry. November 13, 2025